Archive for John Coltrane

50 Years of A Love Supreme

Posted in Jazz with tags , , , , on February 17, 2015 by telescoper

A very busy day at work has just ended without time to do a blog post, so before I go home I’ll just do a quickie about the classic album A Love Supreme made by the John Coltrane quartet in late 1964 and released in February 1965. The 50th anniversary of the release of this record has been marked by an extremely interesting programme on BBC Radio 4, broadcast a few days ago but still available on the BBC iPlayer.

A Love Supreme is one of my favourite jazz albums, not only because it’s glorious music to listen to but also for its historical importance. Shortly after making this record Coltrane comprehensively changed his musical direction, abandoning many of the structures that underpinned his earlier work and adopting an approach heavily influenced by the free jazz of the likes of Ornette Coleman and, especially, Albert Ayler. Not everyone likes the music Coltrane made after he made that transition (in 1965) but having taken his earlier style to such a high peak as A Love Supreme he and the rest of the band no doubt felt they couldn’t go any further in that direction.

There are glimpses of the later freer approach in the third track, Pursuance, when the drum and saxophone interchanges between Elvin Jones and Coltrane threaten to break the regular tempo apart, and on this (the second) track Resolution, when McCoy Tyner abandons his usual single-note lines in favour of much more complex chordal improvisations. I think Coltrane’s solo on the last track, Psalm, is entirely improvised and , accompanied by Jones’ rising and falling drum rolls, it acquires a hauntingly solemn atmosphere which makes the hairs stand up on the back of my neck every time I hear it. What a fantastic drummer Elvin Jones was.

But I haven’t got time to analyse the whole album – another’s words are in any case no substitute for listening to this masterpiece yourself – so I’ll just mention that Resolution is based on an 8-bar theme that’s very reminiscent of the theme Africa featured on Africa/Brass made a couple of years earlier. To me it sounds like Coltrane is just itching to cut loose on this track. His saxophone tone has a harder edge than usual for that period, giving the piece an anguished, pleading feel. Elvin Jones is also magnificent, his polyrhythmic accents spurring Coltrane to a climactic solo.

The intensity of Resolution ignites an even more dramatic onslaught on the next track, Pursuance, basically a blues taken at a very fast tempo, before the mood changes completely for the final part, Psalm. And all this builds from the opening track, Acknowledgement, which closes with the whole group chanting the words A Love Supreme in unison to a simple four-note figure stated at the opening of the piece.

Four tracks amounting to just over 30 minutes of music, but a masterpiece by any standards. If you’re thinking of starting a jazz collection, put it straight on your list! You could also listen to the whole thing via Youtube

The Giant Steps of Buddy DeFranco

Posted in Jazz with tags , , , , , , on January 11, 2015 by telescoper

Christmas Eve saw the passing of another great Jazz artist, the clarinettist Buddy DeFranco , at the grand old age of 91. Not surprisingly, glowing tributes to him have appeared in all the mainstream media as well as in specialist jazz sources as he was an absolutely superb musician as well as a distinctive stylist. Alongside countless other measures of his greatness and popularity, he won no less than twenty Downbeat Magazine Awards and nine Metronome Magazine Awards as the number one jazz clarinettist in the world.

It’s an interesting facet of jazz history that the clarinet, a mainstay of jazz styles from the New Orleans roots through to the Swing Era, fell into disfavour in the post-war era with the advent of bebop when it was largely eclipsed by the saxophone. Very few musicians persisted with the clarinet into the era of modern jazz, but Buddy DeFranco was one who did. That’s not to say that he disliked swing music though. In fact he began his career playing with big bands of that era, such as those led by Gene Krupa and Tommy Dorsey. One of the most famous bands of that era, the Glenn Miller Orchestra, formed in 1935 and saw its greatest popularity during the Second World War. It was disbanded in 1944 on the death of its leader, but it started again in 1956 and, although it has had a number of changes of personnel, it is still going strong. So strong that there’s a minimum two year waiting list if you want to book the Glenn Miller Orchestra for a gig! With the 70th anniversary of the end of World War Two coming up this year, I’ve no doubt that there’ll be a great deal of nostalgia evoked by renditions of Moonlight Serenade..

The distinctive sound of the original Glenn Miller Orchestra largely derived from the unusual arrangement of its reed section: usually four saxophones playing in harmony, topped by a high clarinet lead. Many jazz fans found that blend a bit too honeyed compared with the likes of, e.g., the Count Basie Orchestra but there’s no question that it gave the band an immediately recognisable sound. Despite his predilection for more modern jazz idioms, especially bebop, Buddy DeFranco obviously very much liked the idea of a big band with a clarinet playing such a prominent part and, in fact, he was the leader and musical director of the revived Glenn Miller Orchestra from 1966 until 1974, and also guested with them on a number of occasions after that.

Anyway, Buddy DeFranco was one of the most technically accomplished clarinettists in all of jazz. Very few have ever been able to match his control, particularly in the upper register. But what I admired most about him was his willingness to take on material not usually associated with his instrument. Here’s a great example, of him playing the John Coltrane classic Giant Steps together with Terry Gibbs on vibraphone. When I saw the relatively low quality reproduction of the film I assumed the sound quality would be similarly poor, but some superb remastering work has been done and this sounds terrific.

Rest In Peace, Buddy DeFranco (1923-2014).

Now This is What You Call a Gig!

Posted in Jazz with tags , , , on March 5, 2014 by telescoper

telescoper:

No time for a proper post today, but I couldn’t resist reblogging this advertisement for what must have been an amazing concert with an amazing lineup; so amazing that Pharaoh Sanders and Albert Ayler, who were also there, didn’t even make it onto the poster!

Originally posted on thejazzword:

Now This is What You Call a Gig!

It was 1966…Pharaoh Sanders and Albert Ayler were also there playing with Coltrane’s group

View original

My Favo(u)rite Things

Posted in Jazz with tags , , , , on January 7, 2014 by telescoper

I’ve got a short gap in between meetings which I thought I’d fill by posting a classic piece by John Coltrane. This is the title track from the 1961 album My Favorite Things which, as it happens, is one of my favourite things. Coltrane plays soprano sax on this track; apparently he hadn’t played a soprano sax until 1960, when Miles Davis bought him one. I like its use on this particularly recording as it gives the performance a very “Eastern” sound.

You might think that a song from The Sound of Music would be unlikely material for John Coltrane to tackle, but in fact he does something extremely interesting with it: the melody is heard numerous times throughout the track, but instead of playing solos over the written chord changes, the soloists improvise over just two chords, E minor and E major, in a manner that seems influenced by Indian music. The whole thing is played in waltz time. In fact, although John Coltrane and McCoy Tyner are great on this track I can never quite manage to tear my ears away from the drummer, the late and very great Elvin Jones, who keeps an intense but fluidly swinging pulse going in 3/4 but also does so much around and across that central beat that it seems he must have more than one pair of hands…

Resolution

Posted in Jazz with tags , , , , on January 1, 2013 by telescoper

Yesterday I happened to be listening to the classic album A Love Supreme made by the John Coltrane quartet in 1964. Since the second of the four “movements” (for what of a better word) of this work is called Resolution, I thought it would be a good thing to post on New Year’s Day to welcome everyone to 2013!

A Love Supreme is one of my favourite jazz albums, not only because it’s glorious music to listen to but also for its historical importance. Shortly after making this record Coltrane comprehensively changed his musical direction, abandoning many of the structures that underpinned his earlier work and adopting an approach heavily influenced by the free jazz of the likes of Ornette Coleman and, especially, Albert Ayler. Not everyone likes the music Coltrane made after he made that transition (in 1965) but having taken his earlier style to such a high peak as A Love Supreme he and the rest of the band no doubt felt they couldn’t go any further in that direction.

There are glimpses of the later freer approach in the third track, Pursuance, when the drum and saxophone interchanges between Elvin Jones and Coltrane threaten to break the regular tempo apart, and on this (the second) track Resolution, when McCoy Tyner abandons his usual single-note lines in favour of much more complex chordal improvisations. I think Coltrane’s solo on the last track, Psalm, is entirely improvised and , accompanied by Jones’ rising and falling drum rolls, it acquires a hauntingly solemn atmosphere which makes the hairs stand up on the back of my neck every time I hear it. What a fantastic drummer Elvin Jones was.

But I haven’t got time to analyse the whole album – another’s words are in any case no substitute for listening to this masterpiece yourself – so I’ll just mention that Resolution is based on an 8-bar theme that’s very reminiscent of the theme Africa featured on Africa/Brass made a couple of years earlier. To me it sounds like Coltrane is just itching to cut loose on this track. His saxophone tone has a harder edge than usual for that period, giving the piece an anguished, pleading feel. Elvin Jones is also magnificent, his polyrhythmic accents spurring Coltrane to a climactic solo.

The intensity of Resolution ignites an even more dramatic onslaught on the next track, Pursuance, basically a blues taken at a very fast tempo, before the mood changes completely for the final part, Psalm. And all this builds from the opening track, Acknowledgement, which closes with the whole group chanting the words A Love Supreme in unison to a simple four-note figure stated at the opening of the piece.

Four tracks amounting to just over 30 minutes of music, but a masterpiece by any standards.

Happy New Year!

Physics and other things that make life worth living…

Posted in Biographical, Education, Jazz, Music, The Universe and Stuff with tags , , , , , on November 24, 2012 by telescoper

Yesterday we hosted a seminar by João Magueijo from Imperial College. It was a really interesting talk but the visit also a number of staff and students, including myself, the chance to chat to João about various things. In my case that primarily meant catching up on one another’s news, since we haven’t talked since early summer and a lot has happened since then. Then we had drinks, more drinks, dinner, drinks and then cocktails, finishing about 2am. A fairly standard night out with João, actually.

Among the topics discussed in the course of an increasingly drunken conversation was the fact that physicist Stephon Alexander had recently moved to Dartmouth College, a prestigious Ivy League institution in New Hampshire. I don’t know Stephon very well at all as I don’t really work in the same area as him. In fact, we’ve only ever met once – at a Cosmology School in Morocco (in 1996 or thereabouts); he was a graduate student and I was giving some lectures. On the left you can see a snap of him I took at that time. Can that really have been so long ago?

Anyway, I’ll resist the temptation to bemoan the passage of time and all that and get back to the point which is the connection that formed in my head between Stephon, yesterday’s post about the trials and tribulations facing prospective PhD students, and an older post of mine about  the importance of not forgetting to live a life while you do a PhD.

The point is that although there are many things that may deter or prevent an undergraduate from taking the plunge into graduate studies, one thing shouldn’t put you off and that is the belief that doing a PhD is like joining a monastery in that it requires you to give up a lot of other things and retreat from the outside world. Frankly, that’s bollocks. If I’m permitted to quote myself:

I had plenty of outside interests (including music, sport and nightlife)  and took time out regularly to indulge them. I didn’t – and still don’t – feel any guilt about doing that. I’m not a robot. And neither are you.

In other words, doing a PhD does not require you to give up the things that make life worth living. Actually, if you’re doing a physics PhD then physics itself should be one of the things that make life worth living for you, so I should rephrase that as “giving up any of the other things that make life worth living”.

Having a wide range of experiences and interests to draw on can even help with your research:

In fact, I can think of many times during my graduate studies when I was completely stuck on a problem – to the extent that it was seriously bothering me. On such occasions I learned to take a break. I often found that going for a walk, doing a crossword, or just trying to think about something else for a while, allowed me to return to the problem fresher and with new ideas. I think the brain gets into a rut if you try to make it work in one mode all the time.

I’d say that to be a good research student by no means requires you to be a monomaniac. And this is where Stephon comes in. As well as being a Professor of Theoretical Physics, Stephon is an extremely talented Jazz musician. He’s even had saxophone lessons from the great Ornette Coleman. I have to admit he has a few technical problems with his instrument in this clip, but I’m using him as an example here because I also love Jazz and, although I have a negligible amount of talent as a musician, have rudimentary knowledge of how to play the saxophone. In fact, I remember chatting to him in a bar in Casablanca way back in ’96 and music was the sole topic of conversation.

Anyway, in the following clip Stephon talks about how music actually helped him solve a research problem. It’s basically an extended riff on the opening notes of the John Coltrane classic Giant Steps which, incidentally, I posted about here.

In a Sentimental Mood

Posted in Biographical, Jazz with tags , , on October 24, 2012 by telescoper

A late post this evening, as I’m just back from a short visit to Brighton. I travelled down there yesterday evening and stayed with an old friend in a house I lived in for a time about 25 years ago. I spent most of today meeting some of my future colleagues at the University of Sussex, who made me feel very welcome, and also catching up on some important things to be dealt with when I take over there in the new year. It’s all part of a gradual process of acclimatisation which I’ll need to do so I don’t take ages getting up to speed when I officially start. I didn’t get much time to wander about the town, but many Brighton memories have flooded back over the last couple of days. Cue an old favourite track that I listened to this evening on the train on the way home. It’s from a lovely album recorded by the unlikely combination of John Coltrane and Duke Ellington. They were men of different musical generations, but they admired each other enormously. It’s clear from the relaxed nature of this collaboration that neither felt he had any points to prove; each adapts his style to suit the other, with gorgeous results.

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